The stars were shining brightly during Pacific Northwest Ballet’s opening of Contemporary 4. The evening’s mixed program featured four outstanding displays of diversity, ingenuity and beautiful creativity.
Pacific featured both men and women dressed in swooshy, flowing skirts which looked just a wee bit prettier on the men than the women. Josh Spell and Benjamin Griffiths especially worked those skirts like it was nobody’s business, and I enjoyed the overall effect the costumes had on the performance. Another duo worth mentioning is Carla Korbes and Olivier Wevers. Their pas de deux was absolutely yummy! Lucien Postlewaite was as beautiful as always. (You know something, I often find it difficult to wrap my head around this man’s softness, his vulnerability. It’s just exquisite!) Then of course, there was the perfection known as Ariana Lallone. This lady continually brings a rich, new layer of magic to every performance, and I for one will miss her presence in the seasons to come.
The world premiere of Marco Goecke’s Place a Chill made me think, “Voguing on steroids”. That may not be the best way to describe it, but that’s immediately what came to mind. Lightening fast upper body moves were mixed with equally fast finger-flicking shivers made you wonder whether the dancers were trying to embrace—or fight off—the impending chill. It was absolutely incredible to watch! In this act, the stand-out performer award must go to both Jonathan Poretta and James Moore. Guys—you’re my heroes! Enough said.
The Piano Dance, choreographed by ballet master, Paul Gibson was just…(insert Italian kiss of the finger tips here) “Bellissima!” The stunning blood red costumes were to die for; the dancing was soulful, flirty and infectiously fun. Lesley Rausch and Seth Orza made for a most mesmerizing pair (but seriously, what do you expect from these two?), while Chalnessa Eames and Josh Spell were enthusiastically coquettish and spry. (The playful booty smack was most appreciated by all in attendance.) Rounding out the splendid cast was Margaret Mullin and Jerome Tisserand, who looked like “two happy young lovers”, and the spunky Rachel Foster and Benjamin Griffiths whose performance I felt was the icing on the cake. Quite honestly, I could watch The Piano Dance over and over again, and never get bored.
The fourth and final piece was Alexei Ratmansky’s Concerto DSCH. This highly anticipated piece did not fail to impress and delight the masses. The lighthearted romance was the perfect blend of strength and versatility due to the likes of Batkhurel Bold, Seth Orza, Karel Cruz, Carla Korbes and Carrie Imler. The male “power triangle” was counter-balanced by the softness and charm of the ladies, who could never be mistaken for shrinking violets! To the contrary, Imler's own breed of strength silently dared the boys to keep up with her, while Korbes' quiet air of authority demands utmost respect. Performance highlights include Bold’s freaking awesome lift and twirl of Mr. Orza (go ahead and read that twice, I’ll wait), and the fantastic chemistry between Cruz and Korbes.
Contemporary 4 is one rep that is not to be missed. If you haven’t already done so, please visit pnb.org to purchase tickets. You will not be disappointed!
~Reviewed by Denise Opper, Class Act Tutu & Dancewear Media Liaison